Metalbandet Deride fra Florø og elektronika-artisten Phonophani fra Bergen roses i brede ordelag i internasjonal musikkpresse. Phonophani ga ut “Genetic Engineering” tidligere i år, mens Deride slipper “Scars of Time” i Norge i oktober.

Deride

Deride har gitt ut “Scars of Time” på det amerikanske plateselskapet The Music Cartel tidligere i år, og nå jobbes det mot slipp i Norge.

– Jeg er usikker på hvem som skal gjøre platen i Norge. Den er allerede ute i resten av Europa, men Music Cartel mangler avtale i Norge. Men går alt etter planen blir det utgivelse i oktober og turné i november, forteller Torfinn Nergaard Andersen i plateselskapet Rec 90, som er inne som forlag for Deride.

Imens pirres nysgjerrigheten av flere gode anmeldelser av “Scars of Time” i utenlandsk musikkpresse. Plata får åtte av ti mulige poeng i britiske Terrorizer Magazine, Kerrang! gir karakteren “good”, mens Rock Pile kaller resultatet for “a piece of metal mystery”.

Espen Sommer Eide ligger i et helt annet musikalsk landskap med sin skjeve elektronika under artistnavnet Phonophani, men hans album “Genetic Engineering” på Rune Grammofon får også mye skryt i tunge musikkblader som NME, The Wire, Mojo og Muzik. I september er Sommer Eide igjen plateaktuell, denne gang med Alogs “Duck Rabbit” på Rune Grammofon.

Her kan du lese noen utdrag fra anmeldelsene:

Deride:
“Straight forward and effective catchy power-groove riffing shares the playing time with epic FNM-esque choruses. (…) Deride are not one of these bands that try and turn their metal into lame plastic radio-friendly pre-digested pap.(…) If you think you can do with a few tunes to kick those annoying chart-toppers out of your head, BUY this!”
Terrorizer Magazine, 8/10

“Norwegian shouty metal with lunatic vocalist.An otherwise workaday mix of Obituary-style old school thrash and chunkier Pantera-inspired grooves granted autowreck fascination value by the antics of a frontman called Frediablo.(…) Shiny, happy people, or even the moderately well-adjusted need not apply.”
Kerrang!, “good!”

“This Scandinavian band is similar to Fear Factory, blending thrash with melodic textures and alternating between clean singing and guttural growls. The band passes on industrial effects, opting instead for dark,
death metal rants as well as sweet, melodic moments. (…) It shows modern sensibilities and technical prowess, pushing the boundaries for extreme music.”
Rock Pile

Phonophani:
“It’s all too easy for electronic wanderers to rely on the glitch and the drone: this brilliantly unnerving record repaints the atmosphere in a thousand shades of strange.”
New Musical Express, 8/10.

“50 minutes of sublime sonic experimentation that seldom loses your attention and gets down to inventing it´s own, runic musical language. A quiet triumph.”
Muzik

“An often unsettling slice of electronica combining melody and subliminal disturbances.”
Mojo

“Crystal clear production and visionary artistry make this a brilliant sophomore effort and one of the label’s best releases yet.”
Motion

“A strange and beautiful beast.”
The Wire

“It’s digital stuff, Eide’s own software gradually mutating loops in a gentle and very modern ambient style. His sounds change with a very naturalsounding unpredictability; it´s beautiful.”
Flux

“Drones and glitches have become the lingua franca of experimental electronica and it is rare that an artist forces them to articulate anything different. (…) The occasional vocals, as on End of all Things, enhance the disembodiment, a sense of mental static lovingly pressed on to a small silver disc.”
The Times

“Beware, instant hit music is a barely visible dot on the horizon from this, but if you’ve got some time and concentration to spare, these are worth spending it on.”
Wax, 8/10

“Phonophani distils his obfuscated samples into post-Oval music that is strange, beautiful and moving. Phonopani¹s boreal scrapes, throbs and ticks are as emotive as any other record issued this year.”
Ammocity

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